ABSTRACT
Wellek's term "concretization" is drawn directly from Ingarden's The Literary Work of Art, which associates "concretization"—as distinct from mere description of strata—with "aesthetic enjoyment". Thus Ingarden makes more explicit a distinction that begun to note within the writings of both Beardsley and Wellek, a distinction between knowing the object descriptively and experiencing the object emotionally. This is a distinction between understanding and experiencing—between objectivity and rhapsody. The author's point in establishing the link between Beardsley and Ingarden has been to show that this type of relation to an object is available not just with works of art like poems, the kinds of objects that Ingarden and Beardsley have in mind, but that it has also come to be associated with a different kind of object, the object whose existence Holt seeks to assert—blackness. One can see how these two objects—poems and blackness—have attained this same standing if he/she examines, side by side, two critics' recent writings.
